Henry Moore Artwork Catalogue
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0014841
Publisher: Triangle Two
Place Published: London
Year: 1988
Date & Collation: 14mins.Colour.Silent.
Description: Film of a dozen sculptures from various angles and in close-up. With time coder. Includes about four minutes of Madonna and Child, 1943-1944 Hornton stone, and two minutes of Warrior with Shield, 1953-1954 bronze. See also Henry Moore: a private view (0011197). For catalogue see 0011076.
0014786
Publisher: Glaxo India Ltd.
Place Published: Bombay
Year: 1988
Date & Collation: 18 minute audio tape, plus 135 slides.
Description: Slide-tape programme prepared for Henry Moore in India: the exhibitions Henry Moore, New Delhi 1987 (See 0010902) and Henry Moore, India 1987 (See 0010894). Script and direction Jane SWAMY. Photography Gerry D'Rozario. Images of Moore's art, of New Delhi installation views and visitors to the exhibition. To music, superimposed captions, or voice, sculptures, drawings and prints are seen with commentary or quotations from Moore's statements.
Also supplied to the Henry Moore Foundation in 1992 as an 18 minute video cassette (See 0014787), along with an 18pp listing of images and script.
Also supplied to the Henry Moore Foundation in 1992 as an 18 minute video cassette (See 0014787), along with an 18pp listing of images and script.
0014787
Publisher: Glaxo India Ltd.
Place Published: Bombay
Year: 1988
Date & Collation: 18mins.Colour.Sound.
Description: Video cassette of slide-tape programme. See 0014786 for description. Script and direction Jane SWAMY. Photography Gerry D'Rozario.
0018300
Publisher: British Broadcasting Corporation North West
Year: 1988
Date & Collation: 80mins.Colour.Sound.Introduced by Joan Bakewell.
Description: Directors: Tony Harrison, Peter Hayward. Executive Producer: John Archer. Producer : Cyril Gates. Three programmes transmitted on BBC 2 on 24 May 1988, as part of a week's series A Week of British Art. The opening screen titles each depict King and Queen, 1952-1953 bronze at Glenkiln watching a television set.
1: Opening of the Tate Gallery Liverpool.
2: Three Exhibitions.
3: Film and Performance by Bruce McLean.
Recorded off-air under Clause 75 of the 1988 Copyright Act.
1: Opening of the Tate Gallery Liverpool.
2: Three Exhibitions.
3: Film and Performance by Bruce McLean.
Recorded off-air under Clause 75 of the 1988 Copyright Act.
0012598
Publisher: TV Ontario
Place Published: Toronto
Year: 1988
Date & Collation: 28 mins.Colour.Sound.Producer-Director: Moira DEXTER.
Description: Realities at the Art Gallery of Ontario with Robert Fulford."
Alan WILKINSON and Robert FULFORD on camera in the Henry Moore Sculpture Centre to a background of sculpture in the gallery and occasional views of specific works including Three Way Piece No. 2: Archer 1964-1965 bronze. They discuss the history of Moore's contacts with Toronto from Viljo Revell's choice of Moore in 1958 through the unveiling of The Archer and Moore's gifts of plasters drawings and other works including mention of his visits to the city. Works of other artists are housed in an adjoining Irina Moore Gallery. Stones bones and other natural forms (chosen from Moore's studio by Alan Wilkinson) and the artist are discussed together with the influence of Primitive art and Picasso. Mention is made of the Mother and Child theme the blind and sculpture commissions Moore's reputation and the reaction against his work by younger artists."
Alan WILKINSON and Robert FULFORD on camera in the Henry Moore Sculpture Centre to a background of sculpture in the gallery and occasional views of specific works including Three Way Piece No. 2: Archer 1964-1965 bronze. They discuss the history of Moore's contacts with Toronto from Viljo Revell's choice of Moore in 1958 through the unveiling of The Archer and Moore's gifts of plasters drawings and other works including mention of his visits to the city. Works of other artists are housed in an adjoining Irina Moore Gallery. Stones bones and other natural forms (chosen from Moore's studio by Alan Wilkinson) and the artist are discussed together with the influence of Primitive art and Picasso. Mention is made of the Mother and Child theme the blind and sculpture commissions Moore's reputation and the reaction against his work by younger artists."
0011190
Publisher: Granada Television
Place Published: Manchester
Year: 1988
Date & Collation: 26 mins.Colour.Sound.
Description: On occasion of opening of Starlit Waters exhibition, Bruce McLEAN and some art students are seen in a disused warehouse in Liverpool with Falling Warrior, 1956-1957 bronze on loan from the Walker Art Gallery. A photograph is seen of McLean's performance piece based on the Warrior twenty years previously. McLean and the camera explore the bronze from all angles and distances, and still photographs are taken. The plinth is discussed in relation to other 'furniture', and the Warrior is viewed against different coloured screens. When the bronze had to be returned to the Walker Art Gallery, a slide of it was projected on the different coloured screens. Celebration edited by David BOULTON. Production Phil GRIFFIN, Rachel HEBDITCH. Camera Jon Woods.
0011196
Publisher: V.I.Z.
Place Published: Inverkeithing
Year: 1988
Date & Collation: 28 mins.Colour.Sound.Produced by Barbara GRIGOR.Directed by Murray GRIGOR.Music by Bill Nelson.
Description: Produced for the Henry Moore Foundation. Film of the 1987 Yorkshire Sculpture Park exhibition (See 0010891), together with brief views of Castleford, Methley Church and Brimham Rocks. The sculptures are seen from all angles and in close-up and distance shots, variously in light and dark, sun and rain. The sound is music, bird song, and recordings of Moore speaking about Castleford, Mother and Child theme, Masaccio, Methley Church, Drapery, Trees and Landscape. The Henry Moore Foundation also possesses an unfinished version of this film, without credits or music, and including a timecoder.
0011202
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 25 mins.Sound recording.
Description: Regular Radio 3 arts programme interview by Andrew GRAHAM-DIXON with Richard DEACON on occasion of his Whitechapel exhibition. Contains two dismissive comments on Henry Moore: No not like a modern Henry Moore. Let's get back to the point." and "Moore's late Reclining Figures were made of polystyrene.""
0011193
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 12 min extract.Sound recording.
Description: Radio 3 weekly arts discussion programme on British Museum exhibition (See 0000179) by Sheridan MORLEY, Richard CORK, Jill NEVILLE, Philip OAKES. Producer Philip FRENCH. Appreciative of War Drawings noting discovery of the sleepers, techniques, effect on subsequent work and use of colour. Moore's work is seen as more profound than that of other war artists.
0011199
Publisher: Dragoman Sound Guides
Place Published: London
Year: 1988
Date & Collation: 40 mins.Audio tape.
Description: Henry Moore on Sculpture: a souvenir of the 1988 Henry Moore exhibition at the Royal Academy London." Written and produced by Stephen DAVIES. Narrated by Angela DOWN. Designed as room-by-room guide for hire at the exhibition consisting of commentary on his career and work and incorporating the voice of Moore from unpublished recordings in the archive of the Henry Moore Foundation on Drawing Royal College of Art Travelling scholarship to Italy Stringed Figures Mother and Child theme Bronzes Helmet Heads Interior and Exterior theme Open Air Trees theme Sheep graphic works. A version exists labelled Henry Moore Exhibition which incorporates pauses and tones and runs to 45 minutes and is repeated on side B.
For draft script see 0014661."
For draft script see 0014661."
0011205
Publisher: Granada Television
Place Published: Manchester
Year: 1988
Date & Collation: 3 mins.Colour.Silent.
Description: Unedited views of Dartington Hall gardens, including about 15 seconds of Memorial Figure, 1945-1946 Hornton stone.
0011192
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 45 mins.Sound recording.
Description: Radio 3 arts programme discussion 24 September 1988 chaired by Michael COVENEY, with Richard CORK, Sheridan MORLEY, Hilary SPURLING. Includes ten minutes on England's Henry Moore (See 0011194) by the left-wing political commentator Anthony Barnett. Described variously as very weird inconclusive and mixed...documentary by innuendo...manipulative...patronising...snide". Criticised for not addressing itself to Moore's work being ruthless in editing the interviews and failing to prove any thesis: "The documentary-maker in trouble.""
0011198
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 30 mins.Sound recording.
Description: Radio 4 arts programme 19 September 1988 produced by John BOUNDY. Introduced by Michael OLIVER. Includes eight minutes on the Royal Academy exhibition (See 0011076). Short quotations from Moore on nature and use of maquettes rather than drawings. Exhibition praised, and commented on by Bryan ROBERTSON. Describes Moore as a genius, and stresses the sense of bone, sinew and tendon in his work rather than flesh. Moore at his best when being baleful and menacing. Reclining female figures seen as a little bit cosy and suburban.
0011204
Publisher: Centre Georges Pompidou
Place Published: Paris
Year: 1988
Date & Collation: Videodisc.Illus.In French.
Description: Bibliothèque publique d'information...vidéodisque réalisé en 1988 comprend 50,000 images fixes sur les collections des musées de France et des pays étrangers, sur des dossiers regroupant des õuvres d'artistes, sur l'art graphique, sur les grands mouvements de peinture et sur l'histoire de la photographie. (Public library information service...videodisc made in 1988 comprising 50,000 fixed images on the collections of French museums and of foreign countries, on files grouping together artists' works of art, on graphic art, on the important artistic movements and on the history of photography).
Includes 128 Henry Moore images, 44772-44900, mostly sculpture, copyright Scala and U.N.E.S.C.O., and a text by François LUXEREAU, Henry Moore ou la passion des formes (See 0003118). Outline of Moore's work in Much Hadham, London and Glenkiln, and comments on his sculptural form and use of natural objects.
Includes 128 Henry Moore images, 44772-44900, mostly sculpture, copyright Scala and U.N.E.S.C.O., and a text by François LUXEREAU, Henry Moore ou la passion des formes (See 0003118). Outline of Moore's work in Much Hadham, London and Glenkiln, and comments on his sculptural form and use of natural objects.
0011191
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 45 mins.Sound recording.
Description: B.B.C. Radio 3 arts programme discussion 17 September 1988. Producer Philip FRENCH. Chairman Sheridan MORLEY, with Michael COVENEY, Peter KEMP and Margaret WALTERS. Includes ten minutes on Royal Academy exhibition (See 0011076) described variously as exciting beautifully presented illuminating dramatic". Mentions the Mother and Child imagery and the male figures and tension. "The male body with suggestion of power subsumed within the female figures." The Coal Mine Drawings and the shelterers "people sleeping in a state of tension and anxiety". Fashions have swirled around Moore "the man that modernism passed by"."
0011197
Publisher: Royal Academy of Arts
Place Published: London
Year: 1988
Date & Collation: 20 mins.Colour.Sound.
Description: Produced by Triangle Two for the Royal Academy of Arts and made at the exhibition (See 0011076). Devised by David MITCHINSON and Mary Anne STEVENS, produced by Vincent JOYCE, directed by Henry PEPLOW. Funded by the Henry Moore Foundation and an award under the Business Sponsorship Incentive Scheme. Alan BOWNESS introduces the exhibition and comments on Head of the Virgin, 1922-1923 marble, Masks, and Reclining Figure, 1929 brown Hornton stone. At the end of the film Sir Alan describes the technical miracle of balance in Large Four Piece Reclining Figure, 1972-1973 bronze.
Susan COMPTON notes Moore's preoccupation with the human figure, his use of drawings, and the landscape elements in his work. She comments particularly on Recumbent Figure, 1938 green Hornton stone; Rocking Chair No. 2, 1950 bronze; Rocking Chair No. 3, 1950 bronze; Reclining Figure: Festival, 1951 plaster; Draped Seated Woman, 1957-1958 bronze; Knife Edge Two Piece, 1962-1965 bronze; Animal Form, 1969 travertine marble.
Julian ANDREWS describes Moore's War Drawings, their Renaissance references and use of drapery. He notes Moore's humanist impulse in Family Group, 1948-1949 bronze; Madonna and Child, 1943-1944 Hornton stone; and King and Queen, 1952-1953 bronze with its archaic dignity. War references recur in Falling Warrior, 1956-1957 bronze and Warrior with Shield, 1953-1954 bronze.
Malcolm WOODWARD describes Moore's use of Shells and other Natural forms in the conception and development of his sculpture; and shows Working Model for Mother and Child: Hood, 1982 bronze as an intermediary between maquettes and larger works.
Susan COMPTON notes Moore's preoccupation with the human figure, his use of drawings, and the landscape elements in his work. She comments particularly on Recumbent Figure, 1938 green Hornton stone; Rocking Chair No. 2, 1950 bronze; Rocking Chair No. 3, 1950 bronze; Reclining Figure: Festival, 1951 plaster; Draped Seated Woman, 1957-1958 bronze; Knife Edge Two Piece, 1962-1965 bronze; Animal Form, 1969 travertine marble.
Julian ANDREWS describes Moore's War Drawings, their Renaissance references and use of drapery. He notes Moore's humanist impulse in Family Group, 1948-1949 bronze; Madonna and Child, 1943-1944 Hornton stone; and King and Queen, 1952-1953 bronze with its archaic dignity. War references recur in Falling Warrior, 1956-1957 bronze and Warrior with Shield, 1953-1954 bronze.
Malcolm WOODWARD describes Moore's use of Shells and other Natural forms in the conception and development of his sculpture; and shows Working Model for Mother and Child: Hood, 1982 bronze as an intermediary between maquettes and larger works.
0011203
Publisher: Channel 4
Place Published: London
Year: 1988
Date & Collation: 70 mins.Colour.Sound.
Description: A Barony Production for Channel 4 in association with the Scottish Film Production Fund. Producer Anita OXBURGH. Director Timothy NEAT. Transmitted 25 December 1988. Mentions chance meeting on V.E. Day with Henry Moore (usually so silent and austere) and his expression of pleasure at the ending of the war. Also includes a glimpse of Moore's name in For Intellectual Liberty 1 1936(November).
0011188
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 28 mins.Colour, and black and white.Sound.Compiled and narrated by Christopher BURSTALL.
Description: First of series of B.B.C.2 television programmes of selections from B.B.C. archives featuring British artists. Transmitted 3 June 1988, this included Augustus John, L.S. Lowry, and an eight minute section on Henry Moore, consisting of brief extracts from the 1951 and 1978 films by John Read (See 0008230 and 0002992) and the 1972 Omnibus: A Question of Feeling? by Christopher Burstall (See 0004219).
0011200
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 23 mins.Sound recording.
Description: 24 September 1988 Radio 3 discussion between Peter FULLER and Anthony BARNETT, chaired by Robert HEWISON, on England's Henry Moore (See 0011194). Hewison introduces the film and cites the attack on it by Fuller in Sunday Telegraph (See 0013086) and Modern Painters (See 0013198). Barnett questions Moore's role as Britain's cultural ambassador. Fuller points out that the film totally ignored Moore's art and was a peg on which Barnett hung his political views. The relationship between Kenneth Clark and Henry Moore was creative, and should not have been attacked in the film. The intellectual dishonesty of ignoring the Herbert Read influence on Moore was also cited by Fuller. Barnett says we should not believe what Moore said about Read's greater influence, and mentions the importance of World War 1 in shaping Moore's outlook. Fuller points out that the influence was different from that implied by the film, and criticises Barnett's statement about Reclining Figures being the massed working class". In a closing discussion on modernism and the timeless and timely role of art Fuller describes Moore as a post-modernist on a grand scale."
0011201
Publisher: I.T.V.
Place Published: London
Year: 1988
Date & Collation: 3 mins.Colour.Sound.
Description: I.T.V. Thames News 13.20, 5 December 1988.
(40 second feature of the Harlow Family Group, 1954-1955 Hadene stone without the baby's head. Damage to the sculpture valued at £4.5 million is latest in a series of attacks on public sculpture in Harlow. A replica replacement is being considered by the Harlow Art Trust).
I.T.V. Thames News 18.00, 5 December 1988.
(Reporter Ken ANDREW. 1 1/2 minute feature on evening news programme showing the damaged work. The same head had been chipped away in the 1950s. Members of the public were against succumbing to vandalism. Lady GIBBERD of Harlow Arts Trust appealed for return of the child's head, which was only of value on the sculpture).
I.T.V. Thames News 13.20, 9 December 1988.
(10 second feature reporting the finding of the baby's head in a house in Harlow).
B.B.C.1 London Plus news programme of 18.30, 5 December 1988 devoted a 20 second feature to the damage.
(40 second feature of the Harlow Family Group, 1954-1955 Hadene stone without the baby's head. Damage to the sculpture valued at £4.5 million is latest in a series of attacks on public sculpture in Harlow. A replica replacement is being considered by the Harlow Art Trust).
I.T.V. Thames News 18.00, 5 December 1988.
(Reporter Ken ANDREW. 1 1/2 minute feature on evening news programme showing the damaged work. The same head had been chipped away in the 1950s. Members of the public were against succumbing to vandalism. Lady GIBBERD of Harlow Arts Trust appealed for return of the child's head, which was only of value on the sculpture).
I.T.V. Thames News 13.20, 9 December 1988.
(10 second feature reporting the finding of the baby's head in a house in Harlow).
B.B.C.1 London Plus news programme of 18.30, 5 December 1988 devoted a 20 second feature to the damage.
0011189
Publisher: British Broadcasting Corporation
Place Published: London
Year: 1988
Date & Collation: 28 mins.Colour.Sound.
Description: Producers: Nick HEATHCOTE, Andrew WHITMAN. Children's television programme transmitted on B.B.C.1 on 12 September 1988. Includes a seven minute section on Henry Moore presented by Mark CURRY. Children comment on public bronzes in London (It looks like half an elephant"). A dozen sculptures on the way to the Royal Academy exhibition (See 0011076) from the Henry Moore Foundation are seen in the T.V. studio with the aid of photographs and film of World War 2 and Moore in his studio. There is a concentrated presentation of Moore's career and the appreciation of his art with King and Queen 1952-1953 bronze featured particularly. A 45 second extract from this feature was transmitted on 29 December 1988 in the Blue Peter Review of the Year."
0014187
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 28mins.Sound recording and film reels 13 & 14.
Description: 10 minute interview with ex-Prime Minister on 16 February 1988 for 0011194. I first heard about Henry Moore from Douglas Houghton...John Dugdale introduced us. John Dugdale was Clement Atlee's private secretary...I met him literally in Clem Atlee's outer office...At number 11 Downing Street...I used to ask Henry Moore in as well so that he would raise the tone of the conversation a little...He had a very shrewd head on his shoulders...I introduced Helmut Schmidt to him...I got to know the man before I knew much about his work...I like the big massive works..."
The rest of the tape is atmosphere and rehearsals of introductory text by Anthony BARNETT. "Henry Moore was fantastically rich he produced over a thousand sculptures ten thousand drawings...millions of people have gone to look at Henry Moore's works...What sort of a country is it that could produce such an artist..?""
The rest of the tape is atmosphere and rehearsals of introductory text by Anthony BARNETT. "Henry Moore was fantastically rich he produced over a thousand sculptures ten thousand drawings...millions of people have gone to look at Henry Moore's works...What sort of a country is it that could produce such an artist..?""
0014188
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 75mins.Sound recording and film reels 15,16,17,18.
Description: Undated interviews made for 0011194. Ten minutes with an unidentified female: I really liked...direct carving when it had this absolutely personal touch to it and the kind of warmth that you don't get in bronze".
Seven minutes of Anthony BARNETT on consensus politics in the post-war world with Moore as an expression of what this society needed.
Twenty minutes on Margaret GARDINER's personal recollections of Hampstead in the 1930s For Intellectual Liberty "He did join the Communist Party" Barbara Hepworth Kenneth Clark: "I certainly never danced with Kenneth Clark and I didn't want to".
35 minutes of Margaret McLEOD recalling her work with Moore from 1946 onwards on Venice Biennale and other British Council exhibitions throughout Europe and the world the 1972 Florence exhibition (See 0004285). "He always had this feeling that he had public responsibilities...One has to be judged on one's life work not on one's best period". Recalls Moore's total satisfaction with his life at Perry Green. In his last years the work became the modelling and the graphics. "He wasn't a very great dancer...but he was very good at croquet".
Two minutes of atmosphere."
Seven minutes of Anthony BARNETT on consensus politics in the post-war world with Moore as an expression of what this society needed.
Twenty minutes on Margaret GARDINER's personal recollections of Hampstead in the 1930s For Intellectual Liberty "He did join the Communist Party" Barbara Hepworth Kenneth Clark: "I certainly never danced with Kenneth Clark and I didn't want to".
35 minutes of Margaret McLEOD recalling her work with Moore from 1946 onwards on Venice Biennale and other British Council exhibitions throughout Europe and the world the 1972 Florence exhibition (See 0004285). "He always had this feeling that he had public responsibilities...One has to be judged on one's life work not on one's best period". Recalls Moore's total satisfaction with his life at Perry Green. In his last years the work became the modelling and the graphics. "He wasn't a very great dancer...but he was very good at croquet".
Two minutes of atmosphere."
0014194
Publisher: ICA TV
Place Published: London
Year: 1988
Date & Collation: 75mins.Sound recording and film reels 44,45,46,47.
Description: 30mins 8 April 1988 interview for 0011194. Helmut SCHMIDT describes background of the Bonn commission. I think we came to like each other...Large Two Forms 1966 and 1969 bronze nowadays has become part of everybody's daily life in Germany because if they ever broadcast on television something out of the capital...anybody in Germany sees this piece of Henry Moore standing in the background or in the foreground...Henry Moore was the breakthrough in the perception of the Germans as regards the artistic capabilities of the English...I'm very proud of possessing a little maquette of Moore". Also includes general comments on the insularity of the British and their role in Europe. "They don't see the mission they have to fulfil in Europe...Europe needs them in the Community".
This tape also includes fragments of statements by Anthony BARNETT Michel MULLER and about 35 minutes of atmosphere and other sounds."
This tape also includes fragments of statements by Anthony BARNETT Michel MULLER and about 35 minutes of atmosphere and other sounds."